This week, Trevor Jackson issues the second installment of his Metal Dance series on Strut; it's a two-disc set that took over a year to compile and features rarities from the EBM, industrial, and darkwave archives, including bits from Tuxedomoon, Skinny Puppy, Visage, and Front 242.
Miranda: In preparing for our chat, I thought it'd be fun to poke around the New York Times archives a bit for some early writings on Los Angeles.
"He found a private archive, and culled bits and pieces from various cinema advertisements (most of the ads are old, and France didn't allow commercial advertising on TV until 1968, and actually banned it last year, so they only had forty years of TV ads).
The archive is a bit neglected and badly needs a deep-pocketed benefactor.
HUO: But I mean, one of the things in terms of archives is that you also use a lot of the aesthetic of the archive, a little bit like in conceptual art.
"The lovely moments in the archives are the bits where Bob Hunter goes 'OK this is a film thing' when they come across the first dead whale that they find.
The best bit of archive footage comes about 10 minutes in.
And Twitter says the archive will be a bit smaller when it is sent to the library.
The archive had become a bit of a buried treasure -- until Charlie Scheips showed up as a freelancer in 1993 and began holding the gems up to the light.
There is a telling bit of archive footage showing an exchange between Jeremy Paxman and a youthful-looking Tony Blair, who looks momentarily confused, then genuinely puzzled when asked: "Do you believe that an individual can earn too much money?" "What, you mean that we should sort of... cap their income?" he asks.
